Miss Kittin today released the music video for ‘Bassline’ the second single from her forthcoming album ‘Calling From The Stars’ (April wSphere).

The music video was directed by Andrew Woodhead, who has previously worked with Justice, Break Bot, French Fries, Aeroplane and more.

Boasting a career that spans three decades and long-term collaborations with The Hacker and Felix da Housecat, Miss Kittin’s sound is as brilliantly unpredictable as ever. New single ‘Bassline’, available now and as an EP on 25th March, marries vocal melodies with pop sensibilities of the highest form and demonstrates exactly why the sound of Miss Kittin remains as relevant and fresh as ever. Described by Nowness as “A black Ballardian dancefloor illuminated by a setting sun provides the science-fiction backdrop to Parisian dance music heroine Miss Kittin’s new video for ‘Bassline’.

‘Bassline’ also signals the directorial debut from Andrew Woodhead, who described the video as follows: “The video for Bassline symbolises the steps of a club dance floor, how they start off lonely then change over the course of an evening into a frenzy of dance. With inspiration drawn from movies such as Knight Rider, Total Recall and old Pepsi commercials, a bright punchy universe was created to dance upon.”

Sasha’s Involver 3 is one of the most anticipated electronic music albums of the year. Lying at that halfway point between traditional mix album and original work, Sasha has woven together a stunning 2 CD set, reworking each individual track into a cohesive, flowing mix that moves from shimmering Balearic ambience to deep house and atmospheric techno.

Album highlights include tracks from The XX, Little Dragon, Foals, ThermalBear, Blondes, Ananda Project, JamesZabiela, Keep Shelly In Athens and beyond, plus a new production from the man himself featuring Kicki Halmos. And whether the tracks are previously unheard exclusives or known favorites, Sasha’s remixed each and every one for this album (full tracklisting below).

While many of his peers have become pallbearers for yesterday’s sounds, Sasha has remained on the bleeding edge for over two decades – not through some grand master plan, but simply through his own appetite for new sounds and artists, and an unshakeable belief in progress. The Involver concept has always been indicative of this, each release representing a nexus of current ideas and movements within dance music.

Sasha’s imprint, Last Night On Earth, has quickly established itself with releases and remixes from ThermalBear, JamesTeej, Max Cooper, Ghosting Season, Hiatus, Thomas Smith, M.A.N.D.Y, Layo & Bushwacka, and Sasha’s own collaborations with James Teej and Krister Linder. The label’s output follows a similar path to Sasha’s current DJ sets, with a focus on electronica, leftfield techno and deep house, and the kind of soundtrack you’ll hear him play at Berlin’s Panorama Bar, London’s Ministry of Sound or Tokyo’s Womb.

Sasha will support the release of “Involver 3” with a run of dates through the USA this February and March. In addition to shows in Miami, Denver, San Francisco, St. Louis and Dallas, Sasha will be extremely active during Miami Music Week. On March 21, Sasha sets sail on his “Last Night On Earth Sunset Cruise” which offers the finest in dance music in an extraordinary setting. On March 23, Sasha takes to the SLS for the “Never Say Never Pool Party,” while he closes the week out on March 24 at Set with the official globalInvolver 3 launch party featuring Cassy and Three. WithSasha’s profound influence on the history of dance music and his connection to the USA these events are not to be missed. It’s the perfect cap to the beloved Involver series.

Tracklist

CD1 – (All tracks have been specially remixed by Sasha for this album)

Lithuanian DJ and producer Vidis has a history of strong influence on the worldwide front. Together with his friend and partner Mario they are known as Mario & Vidis. The duo con-stantly rewrite House definitions, setting standards and pushing boundaries in all directions. Vidis’ Get Physical debut is in the form of a compilation, but not like any you’ve heard before. We present: “Silence Please!”.

“This is the first ever international compilation showcasing the Vilnius House scene and its most creative and inspiring personalities and moments in form of musical tracks. The working title is ‘Silence Please!’. The goal is to catch everyone by surprise. Yes! That would be an ultimate goal and achievement – to raise a few eyebrows and to produce some chin scratch-ing. To make people realize a very young, really small, but unique House scene exists hidden somewhere far away from the big noise and hype of New York, London or Berlin.”

“The compilation consists of 100% exclusive material,” explains Vidis, “New and unreleased tracks from top Lithuanian House acts – Mario & Vidis, Mario Basanov, Downtown Party Net-work, Few Nolder and Darius Vaikas. Unreleased remixes and edits of Fink, Jazzanova, Pompeya, Richard Davis and Ernesto. I did my best to represent the finest we have talent wise, to get as much exclusive material as possible, to get the right balance of unreleased and cutting edge stuff with some already “classic” moments of ours, to combine locally pro-duced stuff with remix work and cooperations of Swedish, American, Russian, British, French and German artists, and to show this way extent, potential and appeal of our musical vision.”

“It’s not just another compilation representing some hot tracks of now or a collection of tried and tested hooks and melodies, it’s a document and a statement in some respects – the first proper representation of emerging sound and the scene from the unlikely territory. There were a few more names I wanted to represent and a few more tracks I wanted to include but they wouldn’t fit genre, mood or tempo wise. I like eclectic selections, but this time I wanted it to be a proper House mix with constant flow and integrity. Also something close to a real DJ set of mine.”

“This is the most important fulfillment in my line of musical work so far. For the first and the most I’m a big music fan, a protagonist of nightlife and dance music culture and an apt advo-cate of my own city and the scene behind it. This compilation combines all of these together. I strongly believe that community and sharing are still the most vital and pivotal elements of dance music culture. This is not only about my musical vision, taste or mixing skills here, but also about sharing musical stories of my friends and colleagues, spreading the love for our city, presenting our own version of House – this strange mixture of melancholia, naivety and pop sensibilities.”

Esteemed selector, producer and Panorama Bar resident Steffi presents the fifth mix CD in the series, showcasing the variety and depth of sound to be found during her sets at the club.

In Panorama Bar 05 we find a mature and confident Steffi channeling her years of experience as a record collector, DJ and beat-maker into 80 seamless minutes. Reflecting all the angles of her classically inspired, raw and profoundly warm sound, we are guided through a rather grand lesson in House music.

Opening with the gliding tones and field recordings of Palisade’s ’18:30′ – a Redshape-produced space-out cut, Steffi initially expresses her love of earthy, organic and submerged club tracks, with Big Strick’s ‘Hayday’ transmitted direct from Detroit (an exclusive on the 12” sampler), and the classic depths of Chris Mitchell’s ‘Lonely Nights’.

Another brand new track recruited by Steffi for the mix, the technoid-Chicago sound of Fred P stands out in the beautifully contemporary ‘Project 05’ – segueing perfectly with Naoki Shinohara’s suitably titled ‘Timeless’.

Always leadings us on a surprising journey through contrasting styles, Steffi lights up the mid-section of the mix with pure and positive energy. Juju & Jordash supply their bubbling, ecstatic ‘A Stab In The Dark’ – another Ostgut Ton exclusive, while congas and gorgeously loose and dusty vibes roll up with ‘Reality’ from John Barera & Will Martin.

This energy keeps on flowing as Steffi brings in a cut from the inimitable Sex Tags crew – courtesy of DJ Fett Burger – while Juergen Junker’s ‘Post Reunion’ should satisfy any remaining raw-cut-up-disco needs!

Steffi includes her pumping and acidic ‘DB011’ – one of three exclusives on the mix coming out as a 12″ on her ‘Dolly’ label, alongside with Dexter’s classy ‘Jawada’ and John Barera & Will Martin’s contribution.

As the intensity grows in the final half-hour, it’s then left to a soaring techno display from Obsolete Music Technology to bring things right up to date, and finally Trevino’s ‘Juan Two Five’ closes the mix, its undulating machine funk easing us down, feeling complete.

Steffi shows off her talents here with a captivating and classy mix of underground House and Techno. All the tracks she included, and the producers she invited to contribute, help to define part of her identity – much like the culture of DJing with records, that she brings to clubs with love, intensity and passion.

Is it possible to zero-in on the sound of the future by re-contextualizing music of the past? Maceo Plex’s meticulously crafted DJ-Kicks mix aims to do just that. “For the last three years at least, the big trend has been early ’90s house,” he says. “Everything’s a throwback. I think it’s the right time to put out something that’s a little more deep and futuristic again.” So while Plex’s mix includes tracks that are up to 20-years old, the selections highlight timeless qualities he feels are missing from contemporary dance floors, and the music is painstakingly re-edited for emphasis. “Most of the tracks are really old, so they needed freshening up,” he says. “A lot of them were missing percussion, or some other element I thought they could use. I think it’s time for people to move on to rediscovering what electronic music is all about, which is moving forward. That futuristic sound, which is timeless.”

But isn’t it a bit of a contradiction, trying to bump electronic music out of a retro rut by looking to a different set of old records? Plex, whose real name is Eric Estornel, reasons it thus: “A lot of the music on there is old, but basically has the sounds and the type of vibe that I think is missing these days. I went through a lot of new music. I didn’t want to select anything that everyone is playing at the moment and I definitely didn’t want to select anything that was already out on digital. The whole mix is comprised of vinyl-only tracks that are not going to be out on digital other than the DJ-Kicks mix. To do that I had to go through a lot of new music and a lot of old music, and there wasn’t much new music that I really loved. I mean I love a lot of new music, but there wasn’t anything that I wanted to represent what I’m trying to do with the mix.”

Estornel has certainly come up with a forward-thinking set that doesn’t sound like much else out there. It opens with “Spatial Lobe” by Monsters From ID, a lost gem of electro typewriter beats and cosmic bleeps by two brothers from Northampton in the UK, who also released under the name Bitstream. “That is one of my favourite tracks of all time,” says Estornel. “It’s a really deep emotional electro track.” “New York Is Alright” by TV Baby, a throb of low-resolution low-end and caustic vocals, bleeds into Estornel’s collaboration with Michael O’Sullivan, “When It All Comes To This,” which sees acid house poetry set against a menacing tech house groove. “The way they go together is a really important moment in the mix,” he explains. “It’s a really good groove; futuristic but really soulful and funky at the same time.” The thread that runs throughout the mix is a compelling darkness. “The whole mix is very dark,” agrees Estornel. “But it’s varied as well. It’s really boring to stay one style. If you’re a lover of music, you don’t love one style. I think it’s important to travel through different styles.” The end result is an education, a lesson in how electronic music for the dancefloor is done with intelligence.

If the custom treatment of older tracks sounds likes a long-winded process, it was. “It took me at least three months. I went through my own stuff and previous DJ-Kicks mixes. Y’know, research. I think it is the most important mix series so I wanted to make sure it was music that I really loved and I want to hear in five or ten years time.” Estornel continues: “I think one of the biggest moments is “Racing Tracks” by Visnadi, the edit that I did. It’s got these racing car sounds and I think that the edit came out really well. It’s a pretty strong moment.”

In time-honoured tradition, the mix contains an exclusive track (in addition to the ten new re-edits). Maceo Plex’s “Galactic Cinema” is a muscular and suitably off-world house chug. “I’m kind of known for a couple of big disco records and some really deep bassline house tracks. This track is much darker, but still pretty sexy and soulful. The whole thing is dark and futuristic.”

“This mix is kind of my legacy, or, at least, part of it,” says Estornel, by way of a parting thought. “In ten or twenty years I’m going to want to go back and listen to this mix and I hope it’s still fresh.”

One of the UK’s most established and consistent deep house producers, Jimpster, is due to drop his eagerly anticipated Porchlight And Rockingchairs LP on 20th May 2013.

His first studio album in six years sees him continue where he left off on the 2006 masterpiece Amour by taking the blueprint of House music and infusing it with an attention to detail and musicality often lacking in much of today’s more disposable dance music. During the interim period, Jamie has maintained a key role in two of the UK’s most successful House labels, Freerange and Delusions Of Grandeur, where he continues to pick up and establish new talent at an impressive rate. Over the course of his 23 year career so far he has remixed everyone from Josh Wink, Osunlade and Solomun through to Bob Marley, Airto Moreira and Seal, as well as continuing to DJ week-in week-out at many of the world’s best clubs and festivals.